A solo debut album by John Frusciante. This album was recorded between two time periods; the first half, Niandra Lades, was recorded before Frusciante left the Red Hot Chili Peppers in 1992; during the recording of Blood Sugar Sex Magik. The second half, Usually Just a T-Shirt, was recorded while the band was on tour in the months leading up to Frusciante's departure.
To Record Only Water for Ten Days is the third solo album by American musician John Frusciante, released in 2001 through Warner Music Group. Unlike his previous two solo albums, Niandra Lades and Usually Just a T-Shirt and Smile from the Streets You Hold, the record differs significantly in that Frusciante explores elements of electronica, synthpop and New Wave. It was recorded subsequent to his heroin addiction. Following a month in rehab for his addiction and his rejoining the Red Hot Chili Peppers, Frusciante felt deeply connected to the spiritual plane and was inspired by the many visions he had of spirits; the ideology of recording water for ten days refers to ten separate periods of time in which an album is conceived. The lyrics express this theme and deal mostly with philosophical and spiritual matters as well as delving into his usual brand of psychedelia-tinged personalism. It reached #30 on Heatseekers. Vincent Gallo directed a video for every track on the record.
The sixth of six albums recorded by Red Hot Chili Peppers guitarist John Frusciante during 2004, Curtains was initially tracked on the musician's living room floor and subsequently overdubbed with Carla Azar of Autolux on drums, Ken Wylde on upright bass, and Omar Rodriguez of the Mars Volta, who lent his guitar playing to a pair of tracks. Initiated by the stellar, Dylanesque acoustic tones of "The Past Recedes," Curtains opens to reveal evocative, soulful material like "Lever Pulled" and the bright, melodic reflection known as "A Name." The magical "Ascension – which uses George Harrison's "My Sweet Lord" as a touchstone – offsets the piano dirge "Leap Your Bar," but Frusciante's increasing comfort as a vocalist during this prolific spell is what is most notable. One needs to look no further than the beauty of "Anne" (which is arguably the best of the lot here) for evidence. But Curtains is the sum of its parts. Nearly always inventive, the 11 tunes here collect to form one magnificent piece of art.
Inside of Emptiness is John Frusciante's fifth release of 2004, this time principally inspired by the raw production values of Lust for Life and White Light/White Heat. Considerably more guitar-oriented than Will to Death and more straightforward than Ataxia's Automatic Writing, Inside of Emptiness rocks hard up until the last track (a gentle rocker), without the polish of Shadows Collide With People. That difference is best exemplified by the leadoff track, "What I Saw," where every level is sent into the red; even the drums are distorted. Many of the songs are sung in falsetto, but when the guitar solos come in, they're all muscle and really benefit from the immediacy of the production. As with the other albums in this series, Frusciante is wearing his influences on his sleeve but following his own vision, and it's quite interesting to track an artist's virtually unfiltered output over the course of a year or so.
A Sphere in the Heart of Silence is a collaborative studio album by John Frusciante and Josh Klinghoffer, released on November 23, 2004 on Record Collection. The fifth in a series of six releases Frusciante issued, from June 2004 to February 2005, the album is composed mainly of electronica-based material.
John Frusciante kicked it into high gear in 2004, not only releasing Shadows Collide With People through Warner Bros., but also planning to release an album every other month or so through the rest of the year on the Recordcollection label. The first of these releases is Will to Death, a collaboration with Josh Klinghoffer (who also helped out with Shadows Collide With People). Those familiar with Frusciante's other solo work will know that this material will be far from Red Hot Chili Peppers lite: Frusciante definitely has his own (somewhat haunted) muse. The songs are basically nice little pop tunes, with hard-panned oddball production and very personal, introspective lyrics. This album also marks a new personal aesthetic for Frusciante: he wanted these songs to be raw and immediate (as inspired by some of his favorite albums), and to this end there were very few takes involved with any of these songs, and mistakes and elements of chance found their way in as well.